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THE         V. 


CHRISTIAN  REVIEW. 


(Etttors. 

JAMES    J.     WOOLSEY, 
WILLIAM  C.    ULYAT 


gisststmit  6iritors. 

R.   TURNBULL,   D.D.  PROFESSOR  H.   B.    HACKETT 

J.  N.  MURDOCK,   D.D.  PROFESSOR  J.   L.   LLNCOLN. 

WILLIAM   R.    WILLIAMS.    D.D.' 


NO.  LXXXIV.-APRIL,  1856. 

VOL,.    XXI. 


NEW    YORK: 
PUBLISHED    AT  115    NASSAU   STREET. 


1856. 


j(jgf-  The  Postage  on  this  work  by  the  new  law,  when  paid  in   advance,   is  3%  cents  on  each  number, 
or  14  cents  a  year. 


CONTENTS. 


Art.  1.  THE  JANSENISTS, l«;i 

"  2.  PROGRESS  OF  BAPTIST  PRINCIPLES, 194 

"  3.  OHRJST  IX  T1IK  OLD  TESTAMENT,          .... 

"  4.  ARCHIBALD  ALEXANDER,  D.D., 

11  5.  StN  AND  REDEMPTION, 

"  G.  THE  HISTORY  AND  DESTINY  OP  COAL,         .... 

"  7.  BIBLICAL  AND  CLASSICAL  HYMNOLOGY,       .'-'-•-      288 

"  8.  NOTICES  OF  NEW  PUBLICATIONS, 

»  9.  LITERARY  AND  THEOLOGICAL  INTELLIGENCE,    -        -       -      516 


COJIJIEtfDATIOAS  OF  THE  WORK. 

Tut  Christian  Review  is  the  leading  exponent  «>f  the  doctrines,  polity,  and  inci- 
sures of  the  Baptists  uf  the  United  States  ;  and  in  literary  and  critical  ab 
among  the  ablefirt  reviews  in  our  country.     It  is  well  worthy  the  patronag 
Baptists.     Its  contents  arc  all  original,  and  no  pains  are  spared  to  secure  the  ' 
degree  of  talent  and  learning  in  the  denomination. —  W*  ti  r     W     \  urn,  8L  Louis. 

"The  friends  of  sacred  literature  must  feel  proud  v(  this  Quarterly."—  Fa 

Mu j.  of  Lit.,  Art,  and  Science.  ■> 

'!  It  seems  more  and  more  to  be  an  indispensable  companion  in  the  | 
labors  of  the  ministry,  as  well  as  an  inestimably  entertaining  and  useful  journal 
for  family  and  private  reading.     I  cannot  do  without  it."— Rev.  J. 

"It  is  the  only  Baptist  Quarterly,  furnishes  much  valuabli  and  is 

worthy  of  extensive  patronage." — Religious  JLruld,  Richmond. 

"The  articles  are  able  and  scholarly;  and   the  critical  and  popular  are  judi- 
ciously blended." — Christian  Herala\  Detroit. 

MAi  Ei  it-  custom,  a  rich  variety  of  matter  is  presented  t<>  the  reader.    A  decided 
Improvem'enl  is  seen  io  the  mechanical  department  <>f  this  able  Quarterly, 
succeeding  number."      M'<  tern  Em  rder,  L  uitvilU,  A'y. 


Namea  of  Authors  of  the  April  No   1856,  In  the  order  of  the  article! 

i.mimi  (  ii \ iii n ,   M  i:       .i    Newtom  Browe,  D.D.,  Philadelphia;  Rei    David 

w  .  T    i'i:  \m  iv.  University  ol  i  Rei  .8,    I . 

wi.i  i  Geo.  W.  Andi  asox,  N   v  .  W,  I     0 


1856.]       Biblical  and  Classical  Hymnohgy.  283 

these  nations  themselves,  and  through  them,    towards   the 
whole  race  of  man. 

Such  peculiar  dispensations  toward  these  nations  lift  them 
to  a  distinguished  position  in  the  world,  and  give  importance 
to  all  that  pertains  to  their  internal  progress  or  their  external 
policy.  Sharing,  jointly,  in  God's  great  blessings,  it  becomes 
them,  as  brothers,  to  stand  side  by  side  for  the  fulfillment  of 
their  united  destiny.  Great  Britain  is  the  elder,  the  United 
States  the  younger.  The  English  have  led  the  van  in  the 
use  of  that  fuel  which  so  rapidly  generates  power  in  the  world. 
We  with  our  Benjamin's  portion,  will  emulate  their  example 
and  push  on  in  their  footsteps.  "We  will  neither  envy  them 
their  priority  of  birth  or  of  influence,  nor  will  we  boast  of  the 
large  provision  made  to  secure  to  us  a  glorious  future.  Other 
thoughts  fill  our  mind.  Other  desires  arise  in  our  heart.  We 
think  of  both  nations  as  depositories  of  God's  holy  word,  and 
of  the  Glorious  gospel ;  and  as  endowed  with  the  means 
of  power  and  influence  among  the  nations  of  the  earth, 
not  for  their  own  selfish  aggrandizement,  but  in  order 
that  they  may  the  more  rapidly  spread  abroad  God's 
word,  and  the  more  efficiently  further  the  universal  tri- 
umph of  Christ's  gospel.  We  desire,  that  they  may  both 
quit  themselves  nobly  in  their  efforts  for  their  own  religious 
advancement,  and  use  well  all  the  power  intrusted  to  them 
for  the  religious  advancement  of  the  world. 


Article  VII.— BIBLICAL  AND  CLASSICAL 
HYMNOLOGY. 

The  Hebrews  are  the  first  people  in  connection  with  whom 
we  have  any  authentic  information  on  the  subject  of  sacred 
hymns  and  music.  At  least  two  centuries  before  Orpheus 
tuned  his  lyre  and  sang  the  praises  of  the  gods,  the  Israeli- 
tish  nation  used  the  timbrel  and  sang  songs  to  Jehovah.  The 
records  of  Moses  carry  us  further  back  than  those  of  any 
other  author.  He  traces  the  invention  of  music  to  long 
years  before  the  flood  (Gen.  iv.,  21).  The  next  mention  which 


284  Biblical  and  Classical  Hymnology.       [April, 

he  makes  of  the  subject  is  in  connection  with  Laban  and 
Jacob,  though  it  is  in  this  case  of  a  secular  cast  (Gen.  xxxi., 
26,  27).  The  fact  of  instruments  suggests  that  vocal  music 
must  have  been  already  cultivated.  The  88th  and  S9th 
Psalms  have  been  supposed  by  some — the  learned  Light  foot* 
among  others — to  belong  to  the  days  of  Egyptian  bondage, 
and  to  be  the  oldest  sacred  songs  extant.  More  modern 
commentators,  however,  attribute  them  to  the  times  of 
David,  and  some  even  to  the  age  of  the  Babylonish  captivity. 
If  Job  is  rightly  placed  among  the  patriarchs,  it  appears 
from  the  book  bearing  his  name  that  musical  instruments, 
and  perhaps  divine  songs  were  common  in  the  land  of  Ur 
(Job  xxi.,  12  ;  xxx.,  31).  When  God  wrought  deliverance  for 
his  people  at  the  Eed  Sea,  Moses  and  the  children  of  Israel 
sang  a  song  unto  the  Lord  (-Ex.  xv.,  1-19).  So  did  Miriam, 
sister  of  Aaron,  with  all  the  women  (Ex.  xv.,  20,  21).  The 
90th  Psalm,  it  is  generally  supposed,  is  a  production  of 
Moses.  The  Jews  attribute  the  nine  that  follow  it  to  him 
likewise,  though  without  sufficient  reason.  The  thirty -second 
chapter  of  Deuteronomy  is  an  ode  by  the  same  author,  and 
was  probably  sung  by  the  people.  At  a  later  period — in  the 
times  of  the  Judges— Deborah  and  Barak  composed  and  sung 
a  song  that  they  might  commemorate  their  escape  from 
under  the  yoke  of  "  Jabin,  king  of  Canaan,"  who.  for  twenty 
years,  "  mightily  oppressed  the  children  of  [srael"  (Judges 
5).  The  prayer  of  Hannah,  recorded  in  1  Sam.  ii.,  1-10,  is 
a  religious  ode.  These  embrace  the  chief  of  the  notices 
of  sacred  music  and  song  among  the  Hebrews,  prior  to  the 
times  of  David,  which  has  been  handed  down  to  us.  From 
them  we  may  learn  that  in  the  earliest  times  sacred  melodies 
were  composed,  that  instruments  of  music  were  used,  and 
that  all  the  people  publicly  sang  the  praises  of  God« 
Whether  Psalmody  was  original  with  the  Hebrews  at  the 
El  ."diis,  or  whether  they  had  learned  it  in  Egypt,  or  of  some 
other  people,  is  not  certainly  known.  Bat  as  the  earliest 
productions  of  any  people  are  always  lyrical  and  religious, 
and  afl  the  Egyptians  were   a  wise  nation  and  worshippers  of 


I  Works,  Vol.  Ii.,p.22. 


1856.]       Biblical  and  Classical  Hymnology.  285 

the  gods,  it  is  natural  to  suppose,  even  had  we  no  direct 
evidence  of  the  fact,  that  sacred  music  was  an  art  practised 
by  this  oldest  and  most  civilized  people  of  whom  we  have 
any  extended  record. 

The  most  important  era  in  hymnology  and  sacred  music  is 
the  age  of  King  David.  He  is  the  greatest  composer  of 
Psalmody  the  world  has  ever  had — the  first  and  the  last, 
without  a  second  or  a  rival.  A  sacred  historian  speaks  of 
him  under  the  honorable  appellation  of  ■"  the  sweet  Psalmist 
of  Israel.''  He  is  the  divine  Poet  Laureate  of  the  human 
race.  He  wrote  more  of  the  Psalms  than  anj'  other  individ- 
ual ;  on  which  account,  as  also  from  the  interest  he  took  in 
introducing  them  in  public  worship,  the  whole  collection 
is  called  by  his  name. 

Beside  the  lyrical  productions  of  Pavid,  the  Scriptures 
contain  numerous  sacred  songs  by  other  authors.  Some 
of  the  Psalms  were  composed  by  Moses,  others  by  Asaph, 
the  sons  of  Korah,  Jeduthem,  Heman,  Ethan,  and  Solomon, 
and  others  still  by  persons  whose  names  have  been  lost.  Be- 
ginning with  Moses  and  extending  through^  period  of  at 
least  nine  hundred  years,  and  some  say  to  even  the  age  of 
the  Maccabees  (without,  however,  just  grounds),  the  Church 
of  God,  under  the  ancient  dispensation,  had  her  poets,  who. 
probably,  composed  odes  as  the  necessities  of  the  people  re- 
quired. Many  of  these  are  now  lost.  Solomon  wrote  a 
thousand  and  five  songs  (1  Kings  iv.,  32).  But  of  this  vast 
number  we  cannot  say  certainly  that  more  than  one  (the 
127th)  is  extant.  In  addition  to  the  songs  collected  in  the 
book  of  Psalms,  there  are  several  prayers  in  the  other  Scrip- 
tures which  are  of  a  lyrical  character,  as  the  prayers  of 
Isaiah  (Is.  xxvi.),  of  Hezekiah  (Is.  xxxviii.,  10-20),  of  Jonah 
(Jon.  iii.),  and  of  Habakkuk  (Hab.  iii.). 

Most  of  these  productions  have  been  sung  in  all  succeed- 
ing ages  and  under  every  clime  : 

"  The  songs  that  flowed  on  Zion's  hill 
Are  chaunted  in  God's  temple  still, 
And  to  the  eye  of  Faith  unfold 
The  glories  of  his  house  of  old."  * 

o  Mrs.  Hale. 


286  Biblical  and  Classical  Hymnology.       [April, 

They  embrace  almost  every  variety  of  sentiment  suitable 
to  devotional  expression,  yet  not  so  as  properly  to  prevent 
the  introduction,  in  modern  times,  of  additional  hymns. 

Music  was  set  by  the  Jews  to  their  odes.  What  the  nature 
of  this  music  was  we  have  no  exact  information,  as  it  has  not 
been  transmitted.  Both  vocal  and  instrumental  was  employ- 
ed. David  was  an  inventor  of  musical  instruments  (1  Chron. 
xxiii.,  5  ;  2  Chron. vii.,  6).  In  this  too  he  was  followed  by  other 
Jews  (Amos  vi.,  5).  Of  the  character  of  these  instruments,  of 
which  in  detail  it  would  be  difficult  to  discourse  satisfactorily, 
we  cannot  here  speak  particularly,  it  being  sufficient  for  our 
purpose  to  simply  indicate  that  such  things  were  used  by  the 
Israelites  in  the  worship  of  God. 

David  formed  choirs.  The  Lcvitcs  being  numerous,  and 
many  of  them  unemployed,  he  took  three  of  the  sons  of 
Levi,  with  their  children,  and  arranged  them  in  twenty-four 
bands,  who  performed  in  turn,  in  the  tabernacle,  after  the 
ark  had  rest.  These  sung  and  played  at  the  dedication  of 
Solomon's  temple  (2  Chron.  v.,  11-13),  and  afterward  at  the 
foundation  of,the  second  (Ezra  iii.,  9-10),  while  on  the  Sab- 
baths and  other  festivals,  they  stood  by  the  altar  of  burnt  sacri- 
fice, prating  the  God  of  Jacob  (1  Chron.  xxvi.,  4-6  ;  xxv,  1 ; 
2  Chron.  xxix.,  25).  The  number  of  singers  in  each  band 
Avas  -twelve,  making  in  all  two  hundred,  fourscore,  and  eight. 
When  David  composed  an  ode,  he  sent  it  to  the  chief  of 
these  musicians,  who,  doubtless,  arranged  for  it  a  tune,  and 
performed  it  with  his  brethren.  Thus  new  music  as  well  as 
new  hymns  was  continually  appearing.  In  these  choirs  both 
men  and  women  sang.  The  whole  arrangement  was,  proba- 
bly, by  a  Divine  order,  and  must  have  been  very  novel  and 
imposing,  calculated  to  strike  the  worshippers  with  awe  and 
inspire  them  with  feelings  of  devotion. 

'I'm-  Bongs  ofSion  became  very  celebrated  among  other  peo- 
ple; and  often  were  the  dews  in  exile  required  to  sing  them 

(Psal.  CXXXvii.  3) J  whence,   it  may   appear   that   not.  onl\   the 

choirs  bat  possibly  the  people  too  learned  thr  melodies  of  the 

tempi  the  destruction  of  their  city  and  their  consequent 

-i"M,  tii'-  cultivation  of  sacred   music  has  not  been  with 

Jews  a  prominent  objeot  of  attention.     It  does  not  seem 


1856.]       Biblical  and  Classical  Eymnology.  287 

consonant  that  it  should  be,  as  according  to  their  notions  re- 
specting Jesus  of  Nazareth,  the  Lord  their  Messiah  delayeth. 
his  coming.  In  a  few  places  they  sing,  especially  in  Germany. 
But  as  a  people  they  have  lost  that  celebrity  in  music  which 
the  Fathers  attained. 

But  not  only  the  Jews ;  heathen  nations  also,  of  the  remotest 
antiquity,  had  their  religious  songs.  The  oldest  poems,  re- 
marks Plato,*  consists  of  divine  hymns.  Linus  is  the  first 
heathen  poet  of  whom  we  find  any  record.  His  poems  are  of 
a  sacred  character.  He  was  a  Greek,  and  according  to  the 
legends  a  cotemporary  of  Joshua.  Following  him  at  the  dis- 
tance of  about  a  century  was  Orpheus.  He  composed,  it  is 
said,  several  divine  songs.  Then  followed  Homer,  a  century 
later  perhaps  than  Solomon,  and  in  the  days  of  Elijah.  After 
Homer  came  Hesiod.  The  two  latter  have  married  the  gods 
and  religion  to  poetry.  Several  hymns  were  discovered  dur- 
ing the  last  centuryf  addressed  to  Apollo  and  other  of  the 
heathen  deities.  They  are  doubtless  of  very  high  antiquity. 
The  ancient  critics  usually  attributed  them  to  Homer.  Music 
was  early  connected  by  the  Greeks  with  religion.  Pythagoras, 
it  is  well  known,  regarded  it  as  something  divine  eminently 
tending  to  enliven  the  affections  and  conducive  to  meditation. 
From  the  book  of  Daniel,  it  appears  that  in  Babylon  in  the 
days  of  the  Jewish  captivity  musical  instruments  were  em- 
ployed in  religious  worship  in  that  city  (Dan.  iii.  5).  The 
oldest  specimen  of  Latin  poetry  extant  is  of  a  religious  char- 
acter It  is  supposed  to  belong  to  the  age  of  Eomulus.  Dun- 
lop  has  given  it  in  his  history  of  Roman  literature,^:  of  which 
the  following  is  his  translation. 

"  Ye  'Lares  aid  us  !  Mars  thou  God  of  might ! 
From  murrain  shield  the  flocks,  the  flowers  from  blight. 
For  thee,  0  Mars  !  a  feast  shall  be  prepared  ; 
Salt  and  a  wether  from  the  herd  ; 
Invite  by  turn  each  demigod  of  Spring. 
Great  Mars,  assist  us !  Triumph !  Triumph  sing !" 

Several  interesting  observations  might  be  connected  with 
this  fragment  of  the  Old  Roman  Hymnology ;  but  nothing 

e  De  Leg.  B.  3.      f  At  Moscow.     Edited  by  Ruhenken.      %  Vol.  1,  p.  41. 


288  Biblical  and  Classical  Hymnology.       [April, 

more  than  its  bare  quotation  is  necessary.  It  fully  illustrates 
the  connection  of  poetry  and  music  with  religion  and  divine 
worship  which  prevailed  among  the  early  Romans.  This 
hymn  which  has  been  discovered  in  modern  times*  used  to 
be  sung  by  the  Fratres  Arvales,  a  company  of  priests  who  offi- 
ciated at  Old  Rome  in  the  festivals  called  Ambarvalia.  Clemens, 
Alexandrinus,and  Porphyry  make  mention  of  the  use  of  hymns 
by  the  Egyptians  and  Indians — Arrianus;  who  flourished  in 
the  second  century,  and  who  was  in  his  own  country — Greece 
— a  priest  of  Ceres  and  Proserpina,  but  who  afterward,  com- 
ing to  Rome,  devoted  himself  to  philosophy  under  Epictetus, 
makes  use  of  the  following  language — "  If  we  are  intelligent 
creatures  what  else  should  we  do  both  in  public  and  private, 
than  to  sing  a  hymn  to  the  deity  ?  If  I  was  a  nightingale,  I 
would  do  as  a  nightingale,  and  if  a  swan,  as  a  swan  ;  but  since 
I  am  a  rational  creature,  I  ought  to  praise  God,  and  I  exhort 
you  to  the  self-same  song :  this  is  my  work  while  I  live,  to 
sing  an  hymn  to  God,  both  by  myself  and  before  one  or  many." 
We  do  not  find,  indeed,  that  the  musical  element  in  Heathen 
worship  was  of  a  very  imposing  character — such  for  example, 
as  formerly  attained  among  the  Jews,  and  shortly  afterward 
among  the  Christians.  It  is  sufficient,  however,  to  have  found 
that  it  existed.  It  goes  far,  as  we  shall  presently  notice,towards 
establishing  an  important  doctrine  in  connection  with  our 
subject, 

We  have  pointed  out  the  hymns  and  music  of  the  Old 
Testament ;  it  remains  for  us  to  consider  the  same  in  connec- 
tion with  the  New  Testament.  Singing  is  here  enjoined  and 
regulated  and  examples  given.  At  the  institution  of  the 
supper,  Jesus  and  his  disciples  "  sung  an  hymn"  (Matt,  xxvi., 
80:  Mark,xiv.,  26).  According  to  some  f  Christ  then  instituted 
singing  as  an  ordinance  to  be  observe.!  in  his  church  for  ever 
by  all  his  people.  The  Vulgate  translates  the  original 
{y^vrjaavreg)  of  the  sacred  historian  by  the  words  "hymno 
dido"  Erasmus,  in  his  translation  of  the  New  Testament, 
departs  from  this  rendering  and  gives  one  more  in  accordance 
with    the   Greek.     His  words   are   ilcum  cecinissenl"    For 


■  At  Boom  In  L778,  on  artone,  in  digging  foundations  of  Sacristy  of  St.  Peter's. 
i   w.  Bridge'!  vrorke,  rol.  4,  p.  H7. 


1856.]       Biblical  and  Classical  Hymnology.  289 

this  lie  received  the  commendation  of  Beza.*  The  rendering 
of  the  Vulgate  in  giving  the  singular  for  the  plural,  would 
confine  the  singing  to  perhaps  but  one  of  the  company,  which 
would  be  manifestly  contrary  to  the  sense  of  the  original. 
The  ambiguity  of  the  word  vfiveo)  has  given  rise  to  some  per- 
plexity. It  may  mean  either  to  recite  or  ot  sing.  Campbell 
has  chosen  to  retain  it  as  ambiguous  by  rendering  it  here, 
11  and  after  the  hymn."f  But  surely  the  plural  form  according 
to  which  they  all  joined,  might  have  precluded  the  idea  that  the 
hymn  was  only  recited.  That  which  they  sung  was  doubtless 
a  part  or  the  whole  of  what  is  called  the  great  Hallel,  a  por- 
tion of  the  Psalms  extending  from  the  113th  to  the  118th. 
These  the  Jews  were  accustomed  to  sing  at  the  Passover. 
We  do  not  find,  however,  that  singing  was  any  part  of 
the  institution  as  originally  given  by  Moses.  It  was  an 
addition  of  after  ages.  But  our  Lord  accepted  it,  because  suited 
to  his  kingdom.  Melville  draws  from  all  this  the  inference 
that  the  church  may  be  allowed  to  modify  ordinances.^:  This 
is  surely  unfair.  For  the  adoption  of  all  of  what  was 
a  corruption  in  one  ordinance,  in  the  institution  of  an- 
other, can  by  no  means  be  construed  as  sanctioning  even 
its  introduction  into  the  first  ;  much  less  therefore  can 
it  give  it  the  force  of  a  pattern,  to  be  followed  in  all  similar 
cases  by  uninspired  disciples.  In  accordance  with  this 
example  of  their  Lord,  his  churches  ever  sing  an  hymn 
at  the  close  of  celebrating  the  Eucharist.  There  is  some- 
thing exceedingly  touching,  which  every  communicant  may 
well  feel,  in  Christ's  thus  singing  an  hymn  with  his  dis- 
ciples ;  and  that  immediately  before  he  suffered.  He  was  pro- 
bably the  precentor  of  this  little  congregation  of  chosen  ones. 
It  is  usually  regarded  as  unfit  thus  to  sing  songs  on  mournful 
occasions  (Psalm  cxxxvii :  Dan.  vi,  18),  and  it  can  only  be 
justified  by  an  element  of  joy  being  connected.  This  was 
the  case  with  Christ.  His  crucifixion  was  connected  with  a 
crown.  "For  the  joy  that  was  set  before  him  he  endured  the 
cross,  despising  the  shame/'  The  apostolic  constitutions  ap- 
pointed the  34th  Psalm  to  be  sung  at  the  Supper.     In  ages 

0  "  Ut  intelligatur  apostolos  una  cum  Christo  cecinissc." 

f  Note  on  Matt,  xxvi,  30.  t  Sermons,  vol.  2,  p.  33. 

19 


288  Biblical  and  Classical  Hymnologij.       [April, 

more  than  its  bare  quotation  is  necessary.  It  fully  illustrates 
the  connection  of  poetry  and  music  with  religion  and  divine 
worship  which  prevailed  among  the  early  Romans.  This 
hymn  which  has  been  discovered  in  modern  times'*  used  to 
be  sung  by  the  Fratres  Arvales,  a  company  of  priests  who  offi- 
ciated at  Old  Rome  in  the  festivals  called  Ambarvalia.  Clemens, 
Alexandrinus,and  Porphyry  make  mention  of  the  use  of  hymns 
by  the  Egyptians  and  Indians — Arrianus;  who  flourished  in 
the  second  century,  and  who  was  in  his  own  country — Greece 
— a  priest  of  Ceres  and  Proserpina,  but  who  afterward,  com- 
ing to  Rome,  devoted  himself  to  philosophy  under  Epictetus, 
makes  use  of  the  following  language — "  If  we  are  intelligent 

o  o       o  o 

creatures  what  else  should  we  do  both  in  public  and  private, 
than  to  sing  a  hymn  to  the  deity  ?  If  I  was  a  nightingale,  I 
would  do  as  a  nightingale,  and  if  a  swan,  as  a  swan  ;  but  since 
I  am  a  rational  creature,  I  ought  to  praise  God,  and  I  exhort 
you  to  the  self-same  song :  this  is  my  work  while  I  live,  to 
sing  an  hymn  to  God,  both  by  myself  and  before  one  or  many." 
We  do  not  find,  indeed,  that  the  musical  element  in  Heathen 
worship  was  of  a  very  imposing  character — such  for  example, 
as  formerly  attained  among  the  Jews,  and  shortly  afterward 
among  the  Christians.  It  is  sufficient,  however,  to  have  found 
that  it  existed.  It  goes  far,  as  we  shall  presently  notice,  towards 
establishing  an  important  doctrine  in  connection  with  our 
subject. 

We  have  pointed  out  the  hymns  and  music  of  the  Old 
Testament;  it  remains  for  us  to  consider  the  same  in  connec- 
tion with  the  New  Testament.  Singing  is  here  enjoined  and 
regulated  and  examples  given.  At  the  institution  of  the 
supper,  Jesus  and  his  disciples  "  sung  an  hymn"  (Matt,  xxvi., 
80:  Mark,  xiv.,  26).  According  to  some  f  Christ  then  instituted 
singing  as  an  ordinance  to  be  observed  in  his  church  for  ever 
by  all  his  people.  The  Vulgate  translates  the  original 
(t  iir/jOtirTK-)  of  the  sacred  historian  by  the  words  uhymno 
dicto."  Erasmus,  in  his  translation  of  the  New  Testament, 
depart*  from  this  rendering  and  gives  one  more  in  accordance 
with   the   Greek.     His  words  are   "cum   i  cinissent"     For 


°  At  Rome  in  r<  •  \  on  astone,  in  digging  foundations  of  Sacristy  of  8t.  Peter's. 
i   \v.  Brid  ■  i  iroi Es,  \"i.  I.  i'   137. 


I860.]       Biblical  and  Classical  Hymnology.  289 

this  he  received  the  commendation  of  Beza.*  The  rendering 
of  the  Vulgate  in  giving  the  singular  for  the  plural,  would 
confine  the  singing  to  perhaps  but  one  of  the  company,  which 
would  be  manifestly  contrary  to  the  sense  of  the  original. 
The  ambiguity  of  the  word  vjiveo)  has  given  rise  to  some  per- 
plexity. It  may  mean  either  to  recite  or  ot  sing.  Campbell 
has  chosen  to  retain  it  as  ambiguous  by  rendering  it  here, 
"  and  after  the  hymn."f  But  surely  the  plural  form  according 
to  which  they  all  joined,  might  have  precluded  the  idea  that  the 
hymn  was  only  recited.  That  which  they  sung  was  doubtless 
a  part  or  the  whole  of  what  is  called  the  great  Hallel,  a  por- 
tion of  the  Psalms  extending  from  the  118th  to  the  118th. 
These  the  Jews  were  accustomed  to  sing  at  the  Passover. 
We  do  not  find,  however,  that  singing  was  any  part  of 
the  institution  as  originally  given  by  Moses.  It  was  an 
addition  of  after  ages.  But  our  Lord  accepted  it,  because  suited 
to  his  kingdom.  Melville  draws  from  all  this  the  inference 
that  the  church  may  be  allowed  to  modify  ordinances.^:  This 
is  surely  unfair.  For  the  adoption  of  all  of  what  was 
a  corruption  in  one  ordinance,  in  the  institution  of  an- 
other, can  by  no  means  be  construed  as  sanctioning  even 
its  introduction  into  the  first  ;  much  less  therefore  can 
it  give  it  the  force  of  a  pattern,  to  be  followed  in  all  similar 
cases  by  uninspired  disciples.  In  accordance  with  this 
example  of  their  Lord,  his  churches  ever  sing  an  hymn 
at  the  close  of  celebrating  the  Eucharist.  There  is  some- 
thing exceedingly  touching,  which  every  communicant  may 
well  feel,  in  Christ's  thus  singing  an  hymn  with  his  dis- 
ciples; and  that  immediately  before  he  suffered.  He  was  pro- 
bably the  precentor  of  this  little  congregation  of  chosen  ones. 
It  is  usually  regarded  as  unfit  thus  to  sing  songs  on  mournful 
occasions  (Psalm  cxxxvii :  Dan.  vi,  18),  and  it  can  only  be 
justified  by  an  element  of  joy  being  connected.  This  was 
the  case  with  Christ.  His  crucifixion  was  connected  with  a 
crown.  "For  the  joy  that  was  set  before  him  he  endured  the 
cross,  despising  the  shame.1'  The  apostolic  constitutions  ap- 
pointed the  31th  Psalm  to  be  sung  at  the  Supper.     In  ages 

8  ••  Ut  intelligatur  apostolos  una  cum  Christo  cecinissc." 

f  Note  on  Matt,  xxvi,  30.  t  Sermons,  vol.  2,  p.  33. 

19 


290  Biblical  and  Classical  Hymnology.       [April, 

subsequent,  a  selection  was  made  of  the  42d,  43d,  45th,  133d, 
139th,  or  145th. 

In  his  first  epistle  to  the  Corinthians,  Paul  speaks  of  their 
having  "  a  psalm"  in  their  meetings,  and  directs  that  singing 
be  done  "  with  the  spirit  and  with  the  understanding."  (1  Cor. 
xiv.,  15,  20.)  lie  is  speaking  here  of  the  gift  of  tongues,  partic- 
ularly that  form  of  it  which  manifested  itself  in  odes  ;  and 
which,  he  says,  should  be  controlled  "  to  edification."  This 
passage  does  not  countenance  simple  singing  in  the  heart. 
For  the  spirit  referred  to  is  the  spirit  of  God.  In  the  Epistles 
to  the  Ephesians  and  to  the  Colossians,  Paul  speaks  of 
"psalms,  hymns,  and  spiritual  songs;"  and  enjoins  the  sing- 
ing of  them  as  a  public  service  to  be  engaged  in  with  a  fer- 
vent heart  by  all  the  disciples.  (Eph.  v.,  19,  Col.  iii,  16.)  James, 
too,  gives  direction  to  sing  psalms  (James  v.,  13).  From  these 
passages  it  is  evident  psalmody  was  a  part  of  worship  prac- 
tised and  approved  in  the  churches  of  the  apostles,  and  that 
the  whole  body  of  Christ's  people  were  expected  to  join  in  the 
service.  The  prophecies  of  .Mary  (Luke  i.,  40-56)  and  of 
Simeon  (Luke  ii.,  25-35)  are  highly  poetical,  and  were  proba- 
bly uttered  in  the  form  of  singing.  The  heavenly  host  who 
appeared  to  the  shepherds  at  Bethlehem,  sang  (Luke  ii.,  13,) 
God's  praises  ;  and  Paul  and  Silas,  at  midnight,  in  the  jail  of 
Philippi,  did  the  same  ;  and  so  loud  that  the  prisoners  heard 
them.  (Acts,  xvi,  25.) 

Singing,  it  thus  appears,  has  been  ordained  a  part  of  Church 
service.  But  it  is  to  be  observed  further,  that  it  is  of  the 
nature  of  moral  obligation.  AVe  have  seen  sufficient  to  make 
it  probable  at  least,  that  it  has  been  practised  in  all  the 
early  ages,  and  by  all  people  in  their  religious  offerings. 
Ilenee  we  may  infer  that  sacred  music  is  natural  to  the  race. 
Gale,  in  his  Court  of  the  Gentiles,  labors  to  trace  the  origin  of 
its  existence  among  heathen  cations  to  the  .lews.  The  relig- 
ious poetry  of  Linus,  Orpheus,  and  other  Greek  authors  (fab- 
led or  real),  be  derives  from  their  contact  with  the  Hebrews.* 
But  it  is  highly  probable  that   the  musieal  art  was  cultivated 

in  Egypt,  long  before  the  Mosaic  era;  audit  is  conceded  that 


•  Yni.  i.,  b.  :'..,  c  l 


1856.]       Biblical  and  Classical  Hymnology.  291 

Grecian  civilization  sprung  from  the  banks  of  the  Nile.  In 
the  brilliant  reign  of  Augustus,  there  was  brought  from  Egypt 
to  Rome  a  pillar  which  is  supposed  to  have  been  erected  by 
Sesostris,  who  ruled  when  Israel  was  a  slave.  On  that  pillar 
there  is  a  representation  of  a  musical  instrument.  Egyptian 
civilization  and  art,  it  is  natural  to  suppose,  began  to  decline 
after  the  exodus  of  Israel.  It  was  at  its  height  in  the  days  of 
the  patriarch  Jacob,  and  dates  its  commencement  to  a  period 
little  short  of  the  flood.  From  all  this,  we  may  gather  that  sa- 
cred music  is  a  relic  of  the  fall  rather  than  of  Mount  Zion,  and 
thus  incumbent  as  a  moral  ordinance  first.  Jonathan  Edwards, 
attributes  the  disposition  to  abound  in  singing  which  was 
manifested  in  New  England  in  1740,  to  the  influence  of  the 
spirit  of  God.f  In  respect  to  singing  as  a  religious  duty,  de- 
volving upon  all,  the  same  divine  is  said  to  have  observed, 
11  that  it  is  the  command  of  God  that  all  should  sing — that 
they  should  make  conscience  of  learning  to  sing,  and  that 
(where  there  is  no  natural  inability),  those  who  neglect  to 
learn,  live  in  sin."  But  while  thus  the  history  of  religious 
song  reaches  back  to  the  remotest  antiquity,  as  if  emanating 
directly  from  the  bosom  of  God  ;  it  advances  in  the  Apocalyp- 
tic vision  to  a  period  in  the  future  beyond  the  furthest  imagi- 
nation. Holy  music  is  one  of  the  revealed  pleasures  of  Heaven  : 
it  is  a  service  which  will  be  transplanted  from  the  earth  to  the 
skies  (Rev.  v.,  8,  9 :  xv.,  2,  3),  and  the  only  service  we  read 
of  that  will.  Its  practice  therefore,  cannot  but  be  a  matter  of 
sacred  obligation  to  all. 

Works  vol.  3.  p.  401. 


292  Notices  of  New  Publications.  [April. 


Article  VIII.— NOTICES  OF  NEW  PUBLICATIONS. 

Teaching  of    Christ;     or  the  Engravings  of   the    New 

.    By  the  Rev.  D.  T.  K.  Dbummond,  B.A.,  Oxon.     (New  York  : 

er  &  Brothers.  1855.     Svo.  pp.  440.)     The  Parables  of  our  Lord 

have  been,  in  all  ages,  a  rich  source  of  instruction  to  the  church.     But  they 

have  also  proved  a  fruitful  theme  of  discussion  among  interpreters  of  the 

-acred  writings.  AY  hat  constitutes  a  Parable  ?  Wherein  do  the  distinctions  lie 

a  the  Parable-,  the  Allegory  and  the  Proverb  ?  and  what  is  the  true 

principle  of  interpretation  to  be  applied  to  Parables  ?     These  questions  have 

been  variously  answered  and  there  will  probably  always  be  some  diversity  of 

opinion  in  reference  to  them. 

Mr.  Trench,  the  most  noted  among  recent  writers  on  the  Parables,  has 
given  a  definition  of  the  Parable  which  will  include  all  the  illustrative  teach- 
ing of  our  Lord.  Yet,  in  fact,  he  discards  his  own  definition,  and  omits  some 
richest  passages  in  his  parabolic  discourses.  Why,  with  his  idea  of 
what  constitutes  the  New  Testament  parable,  he  should  have  passed  by  such 
those  of  the  Good  .Shepherd,  the  Wise  and  Foolish  Builders,  the 
Old  ai  in  lit.  and  the  like,  we  are  unable  to  see.     He  thus  elimi- 

nates the  parabolic  teaching  of  our  Lord  of  its  most  striking  examples. 

[nour  judgment,  a  work  professing  to  treat  of  the  Parables  of  our  Lord, 
should  include  every  Instance  and  passage  of  his  illustrative  and  figurative 
teaching.  Whatever  difficulty  there  may  be,  in  given  cases,  in  adjusting  the 
i  m  to  certain  formal  definitions  of  a  parable,  it  seems 
to  be  the  more  natural  and  consistent  course  to  treat  all  "  the  dark  sayings" 
of  our  Lord  as  parables.  He  foretold  of  himself,  through  the  prophet,  thai 
he  would  open  his  mouth  in  parables  ;  and  this  is  declare.],  in  the  Gospel,  to 
nave  b  sen  the  exclusive  method  of  his  teaching  ;  at  least  in  certain  places, 
and  during  C  stain  periods  of  his  ministry.  And  we  find,  in  fact,  that  some 
parts  of  his  teaching,  which,  according  to  our  definitions  and  distinctions, 
v...  dd be  all  proverbs,  were  put  forth  by  him  as  parables,  and  receiv- 

ed as  such,  by   his  disciples.     For  instance,   Luke,  in  recording  our  Lord's 
k  concerning  the  blind  Leading  the  blind,  "  calls  it  a  parable."     And 

am    i  Chrisl   said,   "Not  that    which  goeth  into  the  mouth  defileth  a  man," 
!V:  tare  unto  us  this  parable." 

And  while  we  thus  adopt  the  principle  of  the   largest  inclusion,  in  decid- 
ing what  i-  embraced  in  the  parabolic  teaching  of  our  Lord,  wo  are  i 

favor  of  a    wide  an  application  of  the  incidents  in  the  parables  as  can  be  made 

to  consist  with  fidelity  to  the  central  truths  which  they  were  mean!   to   il- 
lustrate. 
!       work  of  Mr.  Drummond  is  constructed  in  accordance  with  these 
I  [e  include  all  the  instances  "f  oar  Lord's  illustrative  teaching  in  his 
:  and  adopt*  a  rule  of  interpretation  which  is  at 


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